Look Who's Here

'Laughter of an unmistakable quality, the laughter that comes because it must, seldom ceased in the London Opera House last night; and there was never a joke nor an antic to be noted with regret. The new revue is as cleanly as it is cheerful. There is a story, too - a story of genuine interest, if it be not thrillingly original' (Globe, 18 July 1916). 'Although “Look Who’s Here!” is, of course, a big affair, using the huge stage to excellent purpose, it is not very splendid. There is very little gilt and tinsel about it. But it is a revue that comes home to London, to London life, and London scenes. It has something of the racy Cockneyism of a Drury Lane pantomime of the old days. Apart from this, it tells a serio-comic story with almost melodramatic fidelity, and while it is one of those “all-in” productions that will obviously need a good deal of scissor-work during the next week or so, there is a thoroughly pretty, popular, and jolly review there already' (Pall Mall Gazette, 18 July 1916). 'The rich dish Mr Stoll sets before his guests has too many plums in it. Some of the less tasty can be spared and no harm done. In ambitiously aiming at spectacular comedy there was risk of tumbling between two stools. The rival claims have free play, however. The splendid show comes out fine and large, and if the comedy is often of the humbler kind known as “low,” without disparagement, it hit the mood of the audience best when in that key' (The Sportsman, 18 July 1916). 'Billy Merson and Fred Kitchen ... score a real success in a burlesque of acrobatism - one of the drollest exhibitions of ground and lofty tumbling we remember to have seen. The whole business is taken with such delightful seriousness, and the final skit on the toppling column feat is a scream' (The Era, 19 July 1916). '‘With one author, one composer, one lyric writer, and one producer – quite a rare circumstance in modern revue production of the more ambitious kind – Mr. Oswald Stoll has managed to provide London with one of the best revues of modern times. One uses the word “revue” for want of a better description for a wealth of spectacle and colour, and fun and melody, for, to tell the truth, “Look Who’s Here!” can boast of possessing little more of the real revue element than is the case with the majority of similar productions' (The Stage, 20 July 1916). 'From next week onwards matinees of “Look Who’s Here” will be given at the London Opera House on Wednesdays, Thursdays, and Saturdays, in addition to the performances every evening. The advance booking is in every way equal to that of Mr. Stoll’s other successful venture, “The Bing Boys,” at the Alhambra’ (Daily News (London), 22 July 1916; also The Era, 26 July 1916). ‘We understand that since the first night production of “Look Who’s Here” at the London Opera House Mr. Oswald Stoll has severely overhauled the book, and has introduced several new scenes with the hope that “there is a laugh in them” for the comedian' (The People, 23 July 1916). 'Mr. Cochran’s success with revue in a small theatre where performers and audience formed a sort of intimate parlour party, has produced an excessive and ill-sorted emulation. Revues are not for large theatres like the Opera House. They must be “cosy” or they are nothing’ (Clarion, 28 July 1916). 'The title of the new piece, “Look Who’s Here,” would seem to invite attention to the brilliance of the cast engaged, and although, with Miss Ethel Levy at their head, the list of principals is good enough, the revue, as a whole, is rather a case of not being able to see the wood for the trees. Amid the rapid traffic of the numerous scenes one is allowed but a fleeting glance, now and again, of those on whom the chief burden of the entertainment is supposed to rest. This is the inevitable result of producing revue on a large scale, which itself is the natural consequence of playing it in a large house and on a big stage. In these circumstances, too, even when the leaders are given a chance of exhibiting their individual talent, there can be none of that confidence, approaching intimacy, between them and their audience which adds so much to the attractiveness of the smaller and less highly organised revues at, say, the Ambassadors’ or the Vaudeville. However, of its kind, “Look Who Here” is not a bad entertainment' (Civil & Military Gazette (Lahore), 24 August 1916). ‘There are to be drastic changes in cast and libretto of “Look Who’s Here” at the London Opera House. Mr. Billie Merson and Mr. Fred Kitchen are both retiring, and Mr. Arthur Roberts and Mr. Jimmy Learmouth will become chief mirth-makers in the rewritten version of the revue by Mr. Harry Vernon’ (Sporting Times, 16 September 1916). '... the desire nearest our hearts is, of course, the homecoming of the “boys.” And that is the “suggestion” that the latest scene introduced into “Look Who’s Here” tries to put into concrete form for us, just to give a fillip to our imagination. The resourceful Lady Ethel Levey-Wallace-West lays out the last of Mr. Billy Merson-Peppercorn’s fifty thou. in a reception and spread to follow at the Royal Automobile Club in honour of our returning braves. The scene is the big dining-room of the club. When the curtain goes up a crowd of ravishing fair ones cluster about Mr. Art. M. Swanstone, who is quite one of the g-hirls [sic], and sing in chorus to his ditty of the ubiquitous powder-puff (the connection with the Army is obvious) before Miss Levey gets right down to the business of forceful suggestion with a word-and-music picture, called “Welcome, welcome home!” of what it really will be like on the joyful day. It is a fine, stirring song, and she puts plenty of warm feeling into the singing of it. A bugle call rings out at the back of the auditorium, and through and round the house come marching a crowd of well-groomed misses in navy and khaki, who presently muster on the stage to the sound of martial music, and the waving of flag and banner. As a “suggestion” the scene is well enough, and it might easily be made more effective with greater diversity of uniforms' (The Era, 20 September 1916). 'There have been one or two nights at the ex-Hammerstein white elephant when the orchestra, had it revolted, could have licked the stuffing out of the audience. Such a great expanse of empty seats as the Opera House can produce has a most depressing effect. Why not try some of the W. W. Kelly stunts with paper?' (Sporting Times, 30 September 1916).

‘Something of a sensation in the little “theatrical village” was caused by the announcement early last week ... that Mr. Oswald Stoll had decided to take his London Opera House revue “Look Who’s Here” over to the Coliseum and stage his Coliseum variety programme at the London Opera House. People said: “Why this thusness?” Well, it is easily explained. Mr. Stoll had produced an exceedingly clever and amusing revue at the London Opera House and found that he was losing money. He wanted to test the magic influence of locality. He wanted to prove to his own satisfaction whether the crowds that flock every week to the Coliseum would go a little bit further on to the London Opera House to see their usual show, and whether “Look Who’s Here” would play to a paying house at such a popular resort as the Coliseum. It is a very sporting adventure, and it has a sporting chance of success. I wish Mr. Stoll every luck in his latest enterprise. At any rate, it will tell us more than we ever knew before’ (Sunday Mirror, 8 October 1916). 'So far as the Coliseum is concerned, the Stoll experiment may be taken to have proved - what many people guessed before - that this comfortable, spacious, and accessible hall has a large number of reliable patrons, who make a point of visiting it weekly, whether the bill of fare may be general, special, or even revue. “Look Who’s Here,” brought from the London Opera House by Mr. Stoll for its final week, before a provincial tour is begun, had packed audiences yesterday, an experience which ought to have been its lot at the Kingsway, but which it lacked there. At the Coliseum hardly a vacant seat could be seen in any part of the house, from boxes and stalls to gallery' (Westminster Gazette, 10 October 1916).

‘Mr. Oswald Stoll has done well to send his Opera House revue into the suburbs, and with such a brilliant cast there should be no doubt about its success. Of course, limited to a twice-nightly performance several of the scenes have had to be omitted, but with one two exceptions everything that was best in the revue has been retained' (The Era, 1 November 1916).

‘“Look Who’s Here” is the title of the revue at the Hippodrome this week. It a merry, bright, rollicking combination, beautifully staged, and abounding in charming features. The humour all through centres round the work of Mr James Learmouth and Mr Billy Caryll. These two clever artists will add very considerably to their local popularity by the big part they are taking in the success of this revue. Miss Dorothy Grey also stood out for her dainty acting and her sweet voice; and Miss Jennie Hartley in the character of a high-born dame contributed several popular songs and charming dances to the wealth of good entertainment the revue provides. Mi- Arthur Roberts fills a position in the cast, and his appearance on the stage was the signal for a very hearty welcome. The revue was received with favour by so large an audience that only standing room was available. It should have a particularly successful run during the week. The other features of the programme were Scotch songs by Miss Pearse, and clever comedian business by Hal Bert. Western Daily Press, 7 November 1916.

‘There is nothing particularly novel in “Look Who’s Here” but refreshing humour, good singing, graceful dancing, and pretty frocks combine to make a really acceptable entertainment. The fun is provided by Hal Bert, Billy Caryll, and Arthur Roberts, whilst Miss Jennie Hartley and Miss Dorothy Grey are furnished with capital songs. The dancing is by Lydia and Francis’. Manchester Evening News, 14 November 1916.

Advertised in the Leicester Daily Mercury, 18 November 1916: ‘In Five Magnificent Scenes. A Powerful Cast includes James Learmouth, Arthur Roberts, Jennie Hartley, Billy Caryll, Dorothy Grey, Stafford Dickens, Will Hyde, And an Army of Singers and Dancers’. Also: ‘There were large houses at the Palace last night to see the revue, “Look Who’s Here,” from the London Opera House. The scenery and dresses were the same as used in London, and the concerted music and lyrics were pretty and tuneful. A revue, to succeed, must have a good deal of fun in its composition, and James Learmouth as Billy Peppercorn and Bill Caryll as Apostrophe H. Jares [sic] take the lion’s share of the work, being very successful in their laudable efforts to keep the house amused. Their particular triumph was in the fourth scene, when, as Max and Moritz, with their “merry” men in a German trench, they gave full rein to well-written jokes. “Selling a House” was also a humorous interlude. Miss Jennie Hartley, as Lady Ethel Wallace West, was the leading lady, and was responsible for some smart work, her songs, “Ragtime Hopping in Kent,” “My Kentucky Home,” and “Welcome Home” being well received. Miss Dorothy Grey as Florrie was also a favourite, having some good numbers in “I wonder if you love me,” “In apple-blossom time,” and “Let me live for tonight.” Miss Sybil Westmacott, was good as the Hon. Millicent Hume, and other characters were in capable hands. The chorus was a good one, and well-trained, and as has been indicated, the stage setting of the various scenes was very effective' (Leicester Daily Post, 21 November 1916). '... at the close Miss Jennie Hartley is responsible for a special musical “suggestion,” Tommy’s “Welcome Home”’ (Leicester Journal, 24 November 1916).

‘“Look Who’s Here” was the attraction at the Wood Green Empire last week. The production, excellent in every way, contains many popular names, including, as it does, those of Mr. James Learmouth, Mr. Billy Caryll, Miss Dorothy Grey, Miss Jenny Hartley, and Mr. Arthur Roberts. A strikingly beautiful and chaste speciality dance by Lydia and Francis was one the gems of the performance. The interlude “Max and Moritz,” specially written by Mr. Harry M. Vernon, and played by Messrs. Learmouth and Caryll, caused much laughter. The revue is handsomely staged. Manager David James reports that business here is good - the first houses exceptionally so’. The Era, 6 December 1916.

Advertised in the West Middlesex Gazette, 7 December 1916: by Fred Thompson; lyrics by Warton David; music by Nat D. Ayer; produced by Gus Sohlke; cast includes James Learmouth as Billy Peppercorn, Arthur Roberts as Colonel Coddington, Jennie Hartley as Lady Ethel Wallace-West, Billy Caryll as Apostrophe S. Jones, Stafford Dickens, Will Hyde, Dorothy Grey as Florrie, and an army of singers and dancers. Scene 1 – A Mean Street, Inch End, E.; Scene 2 – Street; Scene 3 – Casino, Nagg’s Island; Scene 4 – Max and Moritz in a German trench; Scene 5 – Royal Automobile Club.

‘Arthur Roberts, who is touring in “Look Who’s Here,” has a wonderful memory. “I just read my part over twice and then go on and play it,” he told me once. He is, I think still the most resourceful patter comedian on the stage. The revue, by the way, comes to the New Middlesex to-morrow, when Hilda Glyder will play Ethel Levey’s part’ (Weekly Dispatch (London), 10 December 1916).